Spintunes 24 Round 2 Challenge - The Long and Short of It
I know, I know. You're quavering to know how you did in Round 1. Well, the judges are still finalizing their decisions, but the minim I can do is give you a head start on Round 2. Don't get crotchety; I'll be breve. Read on for your Round 2 challenge:
The Long and Short of It: Write and record a song that makes prominent and creative use of rhythmic contrast between long and short note values.
While there are many ways to approach this challenge, here are a few we've thought of, with example songs:
A distinctive rhythmic figure that combines both long and short notes:
"Oklahoma!" from Oklahoma!
Symphony no. 5, movement 1, by Beethoven
Long rhythms dominating in one section and short rhythms dominating in another:
"We Will Rock You" by Queen
"The Remedy" by Jason Mraz
Simultaneous overlapping melodies, with one featuring long rhythms and one featuring short rhymths:
"Pick-A-Little/Goodnight Ladies" from The Music Man
Any combination of these techniques, and/or other techniques we haven't thought of!
SpinTunes 24 Round 2 Challenge - 'The Long and Short of It'
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DutchWidows
- Karski
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DutchWidows
- Karski
- Posts: 38
- Joined: Sun Apr 04, 2021 12:52 pm
- Submitting as: Dutch Widows
- Pronouns: he/him
Re: SpinTunes 24 Round 2 Challenge - 'The Long and Short of It'
Round 1 listening party: Monday March 31 - 8 pm EST hosted by Tommy G
[youtube]https://www.youtube.com/watch?v=BSb_F4cMpa4[/youtube]
[youtube]https://www.youtube.com/watch?v=BSb_F4cMpa4[/youtube]
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DutchWidows
- Karski
- Posts: 38
- Joined: Sun Apr 04, 2021 12:52 pm
- Submitting as: Dutch Widows
- Pronouns: he/him
Re: SpinTunes 24 Round 2 Challenge - 'The Long and Short of It'
Created the thread and added the listening party links so I could post these - Micah/Tommy - if I messed them up, let me know and I'll adjust them!
These are genuine, first listen reviews (except where noted), each written within the length of the song. All opinions are those of an idiot, so disregard as you please. I read the bios first.
Post-listening conclusion – that’s a really strong set of songs! Good luck to the judges working through them!
We Happy Few - Winter Waits, Summer Spins
I like that you thought about the prompt, but only after being knocked out! (I’m sure that’s not what you meant, but it’s funnier to think that). I like the beginning a lot – the softness of the vocal and then it trips into a harder, more raucous sound. There’s a spaciness to the verses that’s cool which contrasts nicely with the chorus. Nice, energetic solo. Really nice mix – everything sits just nicely. I liked the aside at the end – ‘pretty fucking full on’, indeed!
▷ - 48
The narrated adventures of numbers. I like that numbers have fingers too. That first Steve is really good and the ‘music to my ears’ in Pre-Drop 1 is gorgeous. This shifts around a lot – lots of different feels and sounds, but it’s super engaging to listen to. Ha – ‘brain brain’. Nice call back. So is 48 the child of 6 and 8? That’s a nice concept if it is. Kinda of a bleak set of images at the end, but with some hope. And a nice fuzzy solo to boot.
Joy Sitler - Throwing A Party
Straight of the box, the vocal is great – super tone and presence. Great concept for a song and use of ‘long and short’. I like the ‘parpy’ brass in the second verse – nicely echoing the vocal lines. Longer than Round 1, but still a challenge to write too much in under two minutes (this bit has now gone beyond the song – breaking my own rules). Liked this one a lot - great writing and an engaging tune.
This Big Old Endless Sky - The One About The Housing Affordability Crisis
Median income is $1,900 – a month or a year? If that’s annual, that seems low. Not the main point perhaps, but I seem to be fixated on it. This has a great sound – is that a guitar or a synth that interplays with the vocal? Don’t know, but I like it. Really nice bass tone. Love the vocal tone. The way the guitar part gets longer in the ‘somewhere in between’ section is really nice. This packs a lot in to its 2.5 minutes. Nice ending. TBOES is ace. Also an anagram of my son’s name, which is nice.
David Taro – Longevity
Nice concept for a song. I did something similar(ish) about an alligator a while ago (I forget the details). Nice vocal to open. Cool pace to the verse and strong vocal melody – reminds me of something, but I can’t think what. Probably just an archetype. Nice long notes in the chorus. Not enough songs use the words ‘alchemist and mathematician’. Nice Rhodes-sounding piano going on. This is a bop. The story feels a bit spelled out for my lyrical preferences – I like things a little more abstract and interpretable (that’s a word, right?), but in a competition setting, that’s probably a wise move – why make people guess?
The Dutch Widows - Hie The Night
This guy can’t sing. Why is he even trying? Maybe he just wants to get better at it? I dunno.
Stacking Theory - The Mistake
I did listen and I heard the long and short notes. This is a lovely, big comforting, enveloping sound. Not as lush as some Stacking Theory songs of the past, it has a more stripped feel to it, but it works. Love the held ‘hurt’ (which probably works as a description of the story too – some things are hard to let go of, at least in terms of informing songs). Interesting – we’re through the words at around 3m30s, but there’s another 2 minutes to go… Gone very ambient, with some glassy tinkles and repeating vocal loops – a very direct embodiment of the challenge. I really like this 2 minute bit, but it does feel a touch indulgent in a competition. Is that harsh? Probably, but I am (as noted at the top), an idiot whose opinions should be disregarded.
Vehicles of Beware - Getting to the gig
Nice opening guitar sounds. The held notes in the first section contrasting with speedy, more staccato section is the most direct implementation of the challenge so far. Works really well. It’s a pretty simple presentation – guitar and vocal, with some bass, and then vocal layering. There’s a word for that layering of vocals singing different patterns. What is it? Is it a round? Anyway, it works really well. I was half-expecting this to explode at some point and get huge, but I like that it didn’t and it stayed contained and restrained. Really nicely done.
Hot Pink Halo - Mark, Run
If someone makes the claim that this is the best song they’ve ever written, it feels quite a responsibility to review it (if ‘reviews’ is what these ramblings are). It’s also quite tempting to write ‘nah, this is [derogatory word of choice here]’, but I won’t do that. This is one of two I’ve already heard, albeit a live version via Instagram. Everyone tells me that Severance is the greatest TV ever made, but I just don’t get it. I got most of the way through Season 1 and gave up in boredom. I’ve not bothered with Season 2. Anyway, the song. Lovely opening piano figure. This is very restrained. The words totally communicate an intrigue at the technicalities of making of a tv show and the subtle string backing works really well. The way it opens out towards the end is lovely.
The Moon Bureau - Fall Pyre
Another where the contrast between long and short notes is super clear. Meeting the challenge without sounding forced is a great way to do it – just write a good song. Lovely jangling as ever. Ah, we’re done. Too short – I needed more of that.
Jim Tyrrell – Shadows
For a song that clocks in at just about 2 minutes, having a 25 second guitar intro feels bold – that’s a quarter of the song. Lovely, but bold. The mix is quite quiet, so I’m starting again with more volume. More volume still has me straining a little for the vocal. The guitar/vocal setting is sweet and it’s a nice listen. Really nice lyrics, but I wanted the vocal mixed higher - I could only properly hear the words in the pauses between guitar notes.
Celestial Drift - Southbound I-75
Oops - needed to turn down volume again. Is this ‘chicken pickin’? is that what they call this kind of guitar playing? Maybe, but I don’t have time for googling. This rattles along at a pleasing pace, and while the main guitar sounds archetypal to my (uneducated) ear, the pedal steel incidentals in the main verses drew me in – they have a pleasing and engaging tone/role. Could this be another classic in the American road song genre – Route 66 etc? Could be!
Siebass - It's been a long time
The other song I’d heard before, and I was slightly dreading the thought of Siebass having trashed his song based on my dreadful feedback, but this sounds as good as I thought it did before. Loooong time works! The bass/vocal/drum opening is great, and when they’re joined by the guitars on the second verse, the whole thing lifts. The chorus is super-hooky. I really liked the cowbell/woodblock under the solo – who doesn’t love one of those (whichever it is)? This is a really good song.
Jealous Brother - I Think You Know
That’s a big guitar sound to open – and when the vocal comes in, it sounds so good – immediately complete and polished. That choppy guitar part (long/short notes) is great. This is the kind of song I find it difficult to say anything about – it sounds good, it’s well produced, has lots going on – it packs a lot in to its 2m31s run time. It puts me in mind a little of The New Pornographers (who I love) – I think it might be the vocals, that double-tracking with a harmony. Only tiny nitpick is that the ride cymbal was ever so slightly high in the mix for my ears, but other than that, no notes.
Governing Dynamics - Fire In The Distance
Nice bio - made me chuckle! Nice opening guitar part and vocal sounds great. Good long/short note delivery. ‘Glass backbone’ is a great line and I really liked the emphasis on the word ‘bone’, which suits my ear nicely. Nice, snappy solo – great fuzzy sound – I liked the way it flowed into the chorus. Chorus is strong.
Pigfarmer Jr - Human Again
Listened for the Beethoven lift, but I couldn’t hear it – think you’ll be OK! You’ve moved far enough from the source that I think it’s defendable should he or his lawyers come after you. Nice short/long contrasts – another where meeting the challenge seems effortless in the context of the song. The main rhythm guitars sound slightly odd to my ears – like a pumping sound – maybe hitting a compressor too hard..? Could just be my ears It’s only the verse – that effect is absent elsewhere, and the guitars sound great. Strong vocal.
Ominous Ride – Hallucination
That opening (and recurring) ‘hallucination’ is great, epic. Very reminiscent of the shoegaze-y bands of my youth. The verses are snappier (challenge ticked) and that swift vocal delivery is really nice. Was it you that had the recording issues in Round 1 – a fire or something? Not got time to go back and look, but let’s say it is. Recording on the iPad mic sounds good – it sounds like a choice rather than a result of a disaster (running with my prior assumption) and not detrimental to the song. The last section is great. Beginning to suspect it may be my ears or my speakers, but the cymbals sound a little prominent on this one too.
Flintsteel - Stay Alive
This feels like a challenge made for you! That fast opening section sets the tone and we dive in headlong. The drumming in this is really good and the guitar part ticks the challenge all on its own, without the vocals also smashing it out of the park. The slight drawing of breath permitted by the slower guitar solo (at its start) was a great change of pace and the way it developed back into the chorus was great.
Dream Bells – Caerus
A cool, chilled beginning – on brand for the topic (that’s a chill/snow reference, just in case not obvious). This has a lovely ambience to it, though perhaps less immediately grabbing than your Round 1 song. It’s a lovely sound though, I would listen to an album of this. I think I’m saying, release an album and I would buy it.
Möbius Strip Club - The Galaxy of You
Super present, up-front vocal with a sparse backing; it works really well. Those held notes are great. ‘Freckles bespeckle’ is a great pairing. When the vocals double up, I wanted the music to swell or grow with them, to really flesh out the sound. It’s a chilled listen (though without the direct snow references this time (see previous ‘review’)).
Sober - Look Away
That’s quite the bio. A frustrating situation, for sure. Before pressing play, I’m not sure if this is going to be classic Sober, or the rock Sober of Round 1. Opening guitar part could go either way; when the vocal joins, we could still resolve either way. Those held notes (is this the chorus? The lyrics don’t say, and they don’t repeat (in the written form at least), but either way) are great. This is a Sober that sits between the classic and Round 1 versions. There’s some pluck going on (banjo?) but it’s less obviously folk-oriented. Ah, those long notes are a chorus as they just happened again. They are very good indeed. The ‘cruel thing’ lines cut hard.
Piss Enema - Bedazzling Necrotic Flesh [SHADOW]
Nice lyrics. I have no idea who this is, but I like the commitment. Is that Phlub’s voice in the middle? I don’t know how one makes that sound with your voice – it sounds painful on the throat.
Joy Sitler - Breathe Her In [SHADOW]
Ah! A second Joy Sitler song – lovely! This feels like an album closer – it has a slight sadness to it, that would leave you wanting more so you flip the record and start again on side 1 (yes, I mostly listen to actual records, cos I am old). I think this might be my favourite JS song – the pace is great, the lyrics are heartfelt, clever and have a truth to them. The ‘So many people I’ve lost because I turned out to be too much’ line is the peak of that - communicates a feeling, is self-deprecating/self-aware - brilliant songwriting in my book. I loved this song. Might well be my favourite of the round.
These are genuine, first listen reviews (except where noted), each written within the length of the song. All opinions are those of an idiot, so disregard as you please. I read the bios first.
Post-listening conclusion – that’s a really strong set of songs! Good luck to the judges working through them!
We Happy Few - Winter Waits, Summer Spins
I like that you thought about the prompt, but only after being knocked out! (I’m sure that’s not what you meant, but it’s funnier to think that). I like the beginning a lot – the softness of the vocal and then it trips into a harder, more raucous sound. There’s a spaciness to the verses that’s cool which contrasts nicely with the chorus. Nice, energetic solo. Really nice mix – everything sits just nicely. I liked the aside at the end – ‘pretty fucking full on’, indeed!
▷ - 48
The narrated adventures of numbers. I like that numbers have fingers too. That first Steve is really good and the ‘music to my ears’ in Pre-Drop 1 is gorgeous. This shifts around a lot – lots of different feels and sounds, but it’s super engaging to listen to. Ha – ‘brain brain’. Nice call back. So is 48 the child of 6 and 8? That’s a nice concept if it is. Kinda of a bleak set of images at the end, but with some hope. And a nice fuzzy solo to boot.
Joy Sitler - Throwing A Party
Straight of the box, the vocal is great – super tone and presence. Great concept for a song and use of ‘long and short’. I like the ‘parpy’ brass in the second verse – nicely echoing the vocal lines. Longer than Round 1, but still a challenge to write too much in under two minutes (this bit has now gone beyond the song – breaking my own rules). Liked this one a lot - great writing and an engaging tune.
This Big Old Endless Sky - The One About The Housing Affordability Crisis
Median income is $1,900 – a month or a year? If that’s annual, that seems low. Not the main point perhaps, but I seem to be fixated on it. This has a great sound – is that a guitar or a synth that interplays with the vocal? Don’t know, but I like it. Really nice bass tone. Love the vocal tone. The way the guitar part gets longer in the ‘somewhere in between’ section is really nice. This packs a lot in to its 2.5 minutes. Nice ending. TBOES is ace. Also an anagram of my son’s name, which is nice.
David Taro – Longevity
Nice concept for a song. I did something similar(ish) about an alligator a while ago (I forget the details). Nice vocal to open. Cool pace to the verse and strong vocal melody – reminds me of something, but I can’t think what. Probably just an archetype. Nice long notes in the chorus. Not enough songs use the words ‘alchemist and mathematician’. Nice Rhodes-sounding piano going on. This is a bop. The story feels a bit spelled out for my lyrical preferences – I like things a little more abstract and interpretable (that’s a word, right?), but in a competition setting, that’s probably a wise move – why make people guess?
The Dutch Widows - Hie The Night
This guy can’t sing. Why is he even trying? Maybe he just wants to get better at it? I dunno.
Stacking Theory - The Mistake
I did listen and I heard the long and short notes. This is a lovely, big comforting, enveloping sound. Not as lush as some Stacking Theory songs of the past, it has a more stripped feel to it, but it works. Love the held ‘hurt’ (which probably works as a description of the story too – some things are hard to let go of, at least in terms of informing songs). Interesting – we’re through the words at around 3m30s, but there’s another 2 minutes to go… Gone very ambient, with some glassy tinkles and repeating vocal loops – a very direct embodiment of the challenge. I really like this 2 minute bit, but it does feel a touch indulgent in a competition. Is that harsh? Probably, but I am (as noted at the top), an idiot whose opinions should be disregarded.
Vehicles of Beware - Getting to the gig
Nice opening guitar sounds. The held notes in the first section contrasting with speedy, more staccato section is the most direct implementation of the challenge so far. Works really well. It’s a pretty simple presentation – guitar and vocal, with some bass, and then vocal layering. There’s a word for that layering of vocals singing different patterns. What is it? Is it a round? Anyway, it works really well. I was half-expecting this to explode at some point and get huge, but I like that it didn’t and it stayed contained and restrained. Really nicely done.
Hot Pink Halo - Mark, Run
If someone makes the claim that this is the best song they’ve ever written, it feels quite a responsibility to review it (if ‘reviews’ is what these ramblings are). It’s also quite tempting to write ‘nah, this is [derogatory word of choice here]’, but I won’t do that. This is one of two I’ve already heard, albeit a live version via Instagram. Everyone tells me that Severance is the greatest TV ever made, but I just don’t get it. I got most of the way through Season 1 and gave up in boredom. I’ve not bothered with Season 2. Anyway, the song. Lovely opening piano figure. This is very restrained. The words totally communicate an intrigue at the technicalities of making of a tv show and the subtle string backing works really well. The way it opens out towards the end is lovely.
The Moon Bureau - Fall Pyre
Another where the contrast between long and short notes is super clear. Meeting the challenge without sounding forced is a great way to do it – just write a good song. Lovely jangling as ever. Ah, we’re done. Too short – I needed more of that.
Jim Tyrrell – Shadows
For a song that clocks in at just about 2 minutes, having a 25 second guitar intro feels bold – that’s a quarter of the song. Lovely, but bold. The mix is quite quiet, so I’m starting again with more volume. More volume still has me straining a little for the vocal. The guitar/vocal setting is sweet and it’s a nice listen. Really nice lyrics, but I wanted the vocal mixed higher - I could only properly hear the words in the pauses between guitar notes.
Celestial Drift - Southbound I-75
Oops - needed to turn down volume again. Is this ‘chicken pickin’? is that what they call this kind of guitar playing? Maybe, but I don’t have time for googling. This rattles along at a pleasing pace, and while the main guitar sounds archetypal to my (uneducated) ear, the pedal steel incidentals in the main verses drew me in – they have a pleasing and engaging tone/role. Could this be another classic in the American road song genre – Route 66 etc? Could be!
Siebass - It's been a long time
The other song I’d heard before, and I was slightly dreading the thought of Siebass having trashed his song based on my dreadful feedback, but this sounds as good as I thought it did before. Loooong time works! The bass/vocal/drum opening is great, and when they’re joined by the guitars on the second verse, the whole thing lifts. The chorus is super-hooky. I really liked the cowbell/woodblock under the solo – who doesn’t love one of those (whichever it is)? This is a really good song.
Jealous Brother - I Think You Know
That’s a big guitar sound to open – and when the vocal comes in, it sounds so good – immediately complete and polished. That choppy guitar part (long/short notes) is great. This is the kind of song I find it difficult to say anything about – it sounds good, it’s well produced, has lots going on – it packs a lot in to its 2m31s run time. It puts me in mind a little of The New Pornographers (who I love) – I think it might be the vocals, that double-tracking with a harmony. Only tiny nitpick is that the ride cymbal was ever so slightly high in the mix for my ears, but other than that, no notes.
Governing Dynamics - Fire In The Distance
Nice bio - made me chuckle! Nice opening guitar part and vocal sounds great. Good long/short note delivery. ‘Glass backbone’ is a great line and I really liked the emphasis on the word ‘bone’, which suits my ear nicely. Nice, snappy solo – great fuzzy sound – I liked the way it flowed into the chorus. Chorus is strong.
Pigfarmer Jr - Human Again
Listened for the Beethoven lift, but I couldn’t hear it – think you’ll be OK! You’ve moved far enough from the source that I think it’s defendable should he or his lawyers come after you. Nice short/long contrasts – another where meeting the challenge seems effortless in the context of the song. The main rhythm guitars sound slightly odd to my ears – like a pumping sound – maybe hitting a compressor too hard..? Could just be my ears It’s only the verse – that effect is absent elsewhere, and the guitars sound great. Strong vocal.
Ominous Ride – Hallucination
That opening (and recurring) ‘hallucination’ is great, epic. Very reminiscent of the shoegaze-y bands of my youth. The verses are snappier (challenge ticked) and that swift vocal delivery is really nice. Was it you that had the recording issues in Round 1 – a fire or something? Not got time to go back and look, but let’s say it is. Recording on the iPad mic sounds good – it sounds like a choice rather than a result of a disaster (running with my prior assumption) and not detrimental to the song. The last section is great. Beginning to suspect it may be my ears or my speakers, but the cymbals sound a little prominent on this one too.
Flintsteel - Stay Alive
This feels like a challenge made for you! That fast opening section sets the tone and we dive in headlong. The drumming in this is really good and the guitar part ticks the challenge all on its own, without the vocals also smashing it out of the park. The slight drawing of breath permitted by the slower guitar solo (at its start) was a great change of pace and the way it developed back into the chorus was great.
Dream Bells – Caerus
A cool, chilled beginning – on brand for the topic (that’s a chill/snow reference, just in case not obvious). This has a lovely ambience to it, though perhaps less immediately grabbing than your Round 1 song. It’s a lovely sound though, I would listen to an album of this. I think I’m saying, release an album and I would buy it.
Möbius Strip Club - The Galaxy of You
Super present, up-front vocal with a sparse backing; it works really well. Those held notes are great. ‘Freckles bespeckle’ is a great pairing. When the vocals double up, I wanted the music to swell or grow with them, to really flesh out the sound. It’s a chilled listen (though without the direct snow references this time (see previous ‘review’)).
Sober - Look Away
That’s quite the bio. A frustrating situation, for sure. Before pressing play, I’m not sure if this is going to be classic Sober, or the rock Sober of Round 1. Opening guitar part could go either way; when the vocal joins, we could still resolve either way. Those held notes (is this the chorus? The lyrics don’t say, and they don’t repeat (in the written form at least), but either way) are great. This is a Sober that sits between the classic and Round 1 versions. There’s some pluck going on (banjo?) but it’s less obviously folk-oriented. Ah, those long notes are a chorus as they just happened again. They are very good indeed. The ‘cruel thing’ lines cut hard.
Piss Enema - Bedazzling Necrotic Flesh [SHADOW]
Nice lyrics. I have no idea who this is, but I like the commitment. Is that Phlub’s voice in the middle? I don’t know how one makes that sound with your voice – it sounds painful on the throat.
Joy Sitler - Breathe Her In [SHADOW]
Ah! A second Joy Sitler song – lovely! This feels like an album closer – it has a slight sadness to it, that would leave you wanting more so you flip the record and start again on side 1 (yes, I mostly listen to actual records, cos I am old). I think this might be my favourite JS song – the pace is great, the lyrics are heartfelt, clever and have a truth to them. The ‘So many people I’ve lost because I turned out to be too much’ line is the peak of that - communicates a feeling, is self-deprecating/self-aware - brilliant songwriting in my book. I loved this song. Might well be my favourite of the round.
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Siebass
- Karski
- Posts: 59
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Re: SpinTunes 24 Round 2 Challenge - 'The Long and Short of It'
Some reviews from your friendly neighborhood Siebass. I tried to think of constructives where I could. As always, I'm just some dude on the Internet, so use as much NaCl as needed with my thoughts and ramblings.
We Happy Few - Winter Waits, Summer Spins
Glad we got some slide guitar even with glennny in the judge's booth. I really like the sung vocal opening, guitar work and light sung harmonies. When the gravelly/shouty vocal comes in, it's a bit jarring to my ear; I can hear what you were going for, at least for my taste it's a bit more grating and jarring (perhaps that's the point). Sounds like aiming for Rob Zombie type growly growl. I do enjoy the contrast between the growly bit and the sung bit, but I much prefer the airy vocal to the growly one.
Great attitude for the finish, pretty effing full on indeed.
Lyrically lots of good imagery and contrast, snow drifts and sky hanging low; particularly the longer drawn out airy winter compared against the manic summer soaring delivery.
Overall Icome away loving the slide guitar in this, really kept me engaged.
▷ - 48
Another excellent musical contrast between the manic 6 and the lower energy 8. Reminiscent of brain brain with the peppy synth leads underneath the talking bits. It's a good conceit and I think it meets the challenge in a cool and refreshing way. I listened in my car and some of the vocals got buried in the busier musical bits, and I couldn't tell what the lyrics were anymore, starting at is there anything at all that's troubling you" line. Worse for 6 than for 8. Not sure if it's an issue in headphones or speakers, but something worth taking a look at if you come back to this. Music to my ears bit with backing vocals was nice.
Upon reading the lyrics now, it's a fun back-and-forth discussion between 6 and 8. I am a bit confused by the 48 in the outro (6x8 I get, but they are referred to as 6 and 8 in the 3rd line); also it seemed that 6 managed to cheer up 8 based on the verse after Drop 2, so it just seems "that still a chance tomorrow is gonna be better" implies the day wasn't good, but they are hoping tomorrow will be better. Threw me off a little. All in all minor things though. I enjoyed the conversational vibe, and the song overall, with a fun playful tone.
Joy Sitler - Throwing A Party
I know we talked briefly in the peer feedback channel, but I like the tweak to the end of the first chorus, as well as the updates to levels and reverb. What a great song. Gets in, says what it has to say, and gets out. Crash maybe still a little bit harsh if I had anything critical to say at all, but it's not there for very long. Love the added horn. Sound polished and great. I also really liked the lyrics, and the contrast from throwing a party to starting a riot. Also I enjoyed the looooooong and short of it; I think that it works well in a hooky chorus. Short and good so bears repeated listens.
This Big Old Endless Sky - The One About The Housing Affordability Crisis
great lyric about being between the quarter acre and the scream; off-kilter rocker here. Without the liner notes, I defintely wouldn't have caught or appreciated the lyrics as much. I enjoy overdriven bass and vocals; perhaps a little peaky to my ears on some of the screamiest bits on the vocal; for constructives at least perhaps consider a bit less in those loudest bits (but perhaps that was the point, with the rage and all? If so, carry on then). Excellent contender for longest note on FIIIIIIIINE. Gets in, says what it has to say, gets out. Nice groove to this, and the last stanza really drives it home, for the sake of a clothes line, our debt is a gold mine. Frenetic drums with bass jumping in the middle really work in this track for me.
David Taro - Longevity
Telegraph is an interesting texture to open this with the morse code. This was one of my favorites on first listen, we'll see how it holds up (on repeats, it holds up), but I really love the chorus, organ, and instrumentation in this. Hard not to sign along on the "looOoooOoooOooon-gevity". Great groove, great vibe, a parable of the dangers of immortality and the great malaise that follows. Organ tone works great, build up superb on "there's no glory in" before the hit of loooooooooooonnnng. Well done. Guitars sit well, percussion is nice, not many things for me to say, the lyrics flow well. Subtle tambourine in the solo is a nice touch. Only constructive I can think of would be maybe the organ can come up a touch? It may also be just fine where it is. Great work.
The Dutch Widows - Hie The Night
You sound a bit unconfident in the vocal delivery in first verse, but you sound much more sure of yourself in the chorus (and a catchy chorus it is, headlines indeed) and later verses. Bassline is nice, walking around the rest of the song. Kick drum is a little too "clicky" for my tastes, at least to my ear could use a bit more of the low-end thump (I know, I'm sorry to make any kick drum comments ever again). Great guitar tones as always. Lyrically sounds like a send-up of a politcal hack, unclear if it's the one making things terrible over here or a different one, fueled by the desire to be in the limelight. Prechorus really nice on the hie the night, hail the lies, building into that chorus. Very tongue-in-cheek on the bridge, and we are all grateful for those holidays and sick pay.
Stacking Theory - The Mistake
Lyrics capture the beautiful betrayal of the trusted one; what a mistake I had made to believe in you is a great line. Music melancholic wash really supports the down mood of this, with the synths and strings. Watched the fury rage through the glass has extra bonus meaning with the liner notes on glass door. THe tallest person/deepest ocean is a bit melodramatic, but I think it works with the viewpoint of a younger worker flooded with the emotions. Tremolo/vibrato on the vocal in the falls line works well. Lots of interesting little bits and changes to keep a listener engaged. I'll probably echo the constructive of "perhaps a bit indulgent" on the outro, but it was cool to listen to. For the obvious constructive, you could probably have closed this out around the 4:10 mark, bringing the volume up to swell then down and out quiet, though it is lovely. This song, at least, was definitely not a mistake.
Vehicles of Beware - Getting to the gig
Lovely simple arrangement to this, and excellent contrast of fast ascending then descending melody; long and slow delivery is well done here, like in a round; very hard to get that to sound nice. Trem/vibrato on the guitar really works to fill out the space with the vocal. Lugging all my gear in through the kitchen, or through the people eating dinner, I hear you on that. It feels like I spend more time setting up and breaking down than playing the darn show, even the 3 hour gigs. This is truly a lovely song. I like when the shaker comes in. Not sure I'd change a thing. Lyrically mostly in for the assonance and cadence than the meaning, listing all the things to worry about for a show. In terms of constructives, I'm not sure what I'd say; maybe I'd like a bit more harmonies, but honestly this is pretty great as it is, well done.
Hot Pink Halo - Mark, Run
Lovely piano playing in this with sustained notes. The lyrics are a bit inscrutable to me as I do not have Apple plus and have not seen this Severance show, but I enjoy the vocal melodies and harmonies here, subtle use of flute(?) and synth are nice touches to keep things interesting as the song goes along. For constructives, the flute(?) sounds a little harsh/airy (perhaps on purpose?) but it was a little grating on my right ear after a few times, and that around 2:30 I found myself hoping for a shift in rhythm, pattern, bridge, something, but the whole song feels like it stays in a very narrow note/melodic/rhythmic range (perhaps on purpose, given the boxed in lyrics?), and I think I would have liked some sort of shift there, but that is just my preference. This is a lovely song. Well done.
The Moon Bureau - Fall Pyre
Toe-tapping, fast-lyricating, department of Selene. Great line on the fengiest of shuis. A lot of lyrics for such a short tune, some neat imagery of turning up, thinking things will go well, then it all going up in flames. Presumably about a failed relationship or a failed attempt to score weed? I'm not really sure. I thought the music was a bop, and I enjoyed the imagery of living within the shape created when you took yourself away. For constructives, I'll say the lyrics are a bit inscrutable to me, but that is probably just fine. I toe-tapped to this a few times.
Jim Tyrrell - Shadows
Lovely finger picking here to open, and some great turns of phrase, come in dressed for battle/leave without a fight; some people casting shadows, and most just throwing shade. For constructives, wanting to start over and "leave this town" are pretty overused at this point, I think I would have liked a more specific example of that here, but I understand you've had time pressure, gear pressure, and not enough of what you need to do what you want, so I'm just impressed you're still cranking out songs with what you've got. I think the vocal with the sweet picking on the guitar works very well for this song.
Celestial Drift - Southbound I-75
I enjoyed the music; feels like a list song. Definitely would enjoy it more if I knew more of I-75, but that's on me. Got a bit of a Johnny Cash fulsome prison/ring of fire vibes, or maybe Devil Went down to Georgia (Did he take I-75 to get there?). Rapid fire vocal delivery works, as well as the music following the lyrics on the stops in traffic, rest for a minute, that was a nice touch. Pedal steel works nice for the accents and solo. I enjoyed the rhyme of stopped and goed with road. Really well done, right in genre, nice bass, fun down slide to close it out. For constructives, not sure if it would matter, as I don't think it works with the genre, but I would have liked a change up somewhere in there; most of the song feels like the same pace of delivery of the lyrics and playing and vocal delivery, but again, just a thought, I think the song works just fine as is. I'll definitely think of it the next time I hit I-75.
Siebass - It's been a long time
More pop-rock from your friendly neighborhood Siebass. I thought I did pretty well on this one, but we'll see on Sunday.
Jealous Brother - I Think You Know
Musically I really enjoy the descending riffs, pull me into the song right away. Very hooky chorus. Nice guitar tones and vocal double/harmony works well. Solo/bridge section is nice too.
Lyrically I'm a bit adrift; asphalt candy sounds terrible, with burnt lips and a smoking smile, powerful imagery. A ride too long to be worth it, catching the wrong wave. For my constructives, it's all just a bit inscrutable to me; could just be my taste, but I'd like a little more to hang on to for the lyrics. I enjoyed bringing in the hooky descending melody into the outro as well, it was a nice touch.
Governing Dynamics - Fire In The Distance
I know I gave you some feedback in the peer review channel, but all holds true still (except that point I had about the delivery of two lines, which you have since fixed, I think it works now) Great music, tones, organ, birdsong. Had no idea this was about AI until I read the notes. Love the lyric in the chorus about the fire in the distance, can't deny the heat but hard to feel the warmth; great lines black tongue, green eyes, glass backbone, clever yet toothless, left all alone was probably my favorite part of this. Great stanza. Playing pay-to-lose was another. For the sake of constructives; might be a bit pitchy on the end of a few vocal phrases, mostly at the end of lines, but could just be my ears. Another really great song, Travis, I enjoyed this a lot.
Pigfarmer Jr - Human Again
Wouldn't have even caught the Beethoven reference if it weren't in the liner notes, and I think most of his stuff is public domain by now anyways, so good on ya. I can hear it now if I focus, but only then. Really nice grungy guitar tones. Adding the xylophone/glock was a nice accent touch for the latter choruses. I really liked the repetition of the she won't tell me against the she makes me feel human again. I really like the idea of a person that doesn't try to belittle the bad times, but still offers support. You've had some great ideas this contest, I also liked your idea of a hangman never being whole unless things are wrong from last round. For constructives, I'd say the beethoven beat through the verses is great, and probably would have liked some rhythmic variation in the choruses as well; they feel like straight 4/4 quarter notes. I think just some simple variation in there would likely have gone a long way, but those are just my thoughts, I think it's solid either way, just something to consider if you come back to this one.
Ominous Ride - Hallucination
Ah the self aware song-writing song, but on DRUGS (Drugs 're bad, mkay). I really like the dirty guitars and layered vocal to open this, stabs of the music in-between the verse lyrics work well to punctate and contrast during the verse. The "uhhs" sound really great before the hallucination as well. I liked the lyric the phial that the devil filled. Definitely have felt that pull before of "can I be my ON self without "X" stimulant/depressant?" Very on the nose for the tortured artist, and I enjoyed the lyric. Imagery for Hendrix growing the notes was nice too.
For constructives, all I'd say is the verse vocal feels a little thin/quiet compared to the guitars, it works fine because the singing is in the gaps, but maybe this is a side effect of the ipad mic. Not noticeable once you get the double on there for the third verse, so maybe that would work for verse1 and 2 as well, and maybe add a triple if you want to thicken up that last verse as well.
On the mix, maybe a little muddy? At least worth a check if you plan to come back to this.
Flintsteel - Stay Alive
The rapid-fire picking is insanely good, and your technical chops on programming/playing the drums, singing incredibly well and in genre always really impress me. Prechorus reminds me of 90's Offspring harmony vocals, in a good way. I defintely have genre bias against metal and prog rock, so take anything I say from here on out with a grain (or pound) of salt. When I get to your chorus sections, I feel like you MAY tend to reuse your vocal melodies from song to song, and that could be part of why my brain checks out a bit in the middle. It sounds exactly like how I'm expecting it to sound (polished, really good, just the right vocal take/tone/timbre), but there is (IMHO, I'm just some dude on the internet) not much element of surprise to it. And I don't mean surprise like, "We thought it was his son, but it was really a space alien! *gasp* [organ swell]", I mean like in the pattern of the notes in chorus, in the progression, in the arrangement, that kind of thing. Formulae and rubrics are great to have a form to the song, but if it's too rigid and too samey, it can become boring, even if it's techincally incredible. The chorus in this particular song reminds me a lot of your chorus in another one of your songs. Da da da, da da da da daaaa. Around the 50 second mark. I'm going to try to find the example I'm thinking of. It was "tell me why" at about the 2 minute mark. The vocal shape and pattern feel very similar to me. "Tell me why, why am I to blame/it's destiny I've been failed by fate" could be overlaid over the chorus of this song without much change. The intro/verse fast picking section is great, but when we get into the prechorus/chorus it feels a lot more "safe" to me, if that makes any sense.
Anyways, this doesn't mean you need to actually DO anything different, but I hope thinking about it at least is helpful for you (or you can just tell me to go pound sand, I've got a special sand mallet ready just for that). Lyrically everything works for the song and its target grandiosity, and I am always impressed by your technical chops. To my personal taste, I think some variation in arrangement or some curveballs in progression/vocal melodies would really elevate this song in particular, but again, could just be a "me" thing.
Dream Bells - Caerus
I had to Google Caerus, so you succeeded in making me learn something. I feel like all the Dream Bells songs I hear are a vibe, and this one is no different. Captured the "cold" vibe with the instrumentation and eq. I did need the lyric sheet to understand, but with it I can make out everything, and I'm not a judge this time so you're free of any impact of if I can understand the lyrics or not, and I'm also free to just relax and vibe to this lovely piece. Poetic lyrics, snow imagery, light touch all around, particularly liked the line illusions of forever break, and longing for shorter days.
In terms of constructives, I'm torn, so I'll just suggest something, though I don't know if it would make things better or worse. The song doesn't really have much low end to it other than really really subtle synths kind of buried. I THINK I would have liked for some tasteful buzzy bass to work in or some more present percussion to peek out from the frozen ground in the second half of the song, but artistically it works to keep things light and up in the midrange for the snowy imagery, so I'm just leaving it here for you to CONSIDER.
Möbius Strip Club - The Galaxy of You
This is a beautiful, beautiful song. I have trouble getting all the way through it as my genre bias is strong on this. I'm certain it's a me thing and not a "this song" thing, so I will say some nice things now. Vocal is lovely, great light backing instrument support. Lyrically some really solid turns of phrase, space and orbital metaphors really work throughout. Assonance on freckles bespeckle is delightful, feeling of falling into you works nicely as well with the space/planets crashing metaphors as a big planet-scale collision. The line "music of the spheres" puts me off and I'm trying to figure out why; I think it's because all of the rest of the lyrics are really approachable, constellations, freckles,star trails, nebulae, galaxies, exploration are all somewhat emotional breathtaking and wonderous imagery, and music of the spheres makes me put on my philosopher hat and takes me out of the wonder a bit into a bit of pretension where I didn't feel that prior. Probably also just a "me" thing, but I try to provide constructive feedback. It certainly works in the context of ringing loud and clear and dancing curves getting ever closer, and as a philosophical concept, just took me from the concrete to the abstract and out of the song a bit. YMMV. Only other contructive would be perhaps to check the pitching on some of those long vibrato notes. I don't have the best ear, so again could be me, but a few of them sound like they might be drifting off center (but perhaps that was the point, like planets drifting off of orbit?). Anyhow, beautiful love song ode to one's precious spacial (SWIDT) someone.
Sober - Look Away
This track may have the longest held note, on graaaaaaaaave. Another of my favorites of the round; one of my best friends from high school had a mental breakdown somewhere in our mid to late 20's, basically went off the grid, secretly lived in a storage unit for a while, homeless for a while tried to hike from NC back up to his parents in DC, and now is mercifully back in his parent's basement, but I feel these lyrics and story in a big way. It's hard to watch someone you know and care about self-destructing, and you can't help if they don't want it. Great topic and execution. Musically the banjo works with the rockier setup, 7/4 integrated seamlessly into the 4/4 parts. In terms of constructives, maybe a bit more volume on the plucked banjo bits, and I woulda loved it if you let 'er rip on the guitar even of only at one point in the song for a solo or some heavier bits, but great work all around.
Piss Enema - Bedazzling Necrotic Flesh [SHADOW]
Mother of God it's all toilet sounds indeed. Ominous dinging; my kids love the Trolls movies, and I just think "Growly growly growly growly".
Sounds like death metal cookie monster
I'd guess Phlub. If it's the opposite of a Celestial drift, maybe a Satanic connecting flight?
That song was an aural assault.
Joy Sitler - Breathe Her In [SHADOW]
Could have been the main, great light take, some cutting lyrics and a soft touch on an intimate moment and vibe; really well done, I enjoyed this a lot with the light falsetto sprinkled thoughout and honesty. It's hard to be yourself when the yourself you're being is "too much" for other folks, really great idea and execution. Nice visual for the tear in your rearview as well.
We Happy Few - Winter Waits, Summer Spins
Glad we got some slide guitar even with glennny in the judge's booth. I really like the sung vocal opening, guitar work and light sung harmonies. When the gravelly/shouty vocal comes in, it's a bit jarring to my ear; I can hear what you were going for, at least for my taste it's a bit more grating and jarring (perhaps that's the point). Sounds like aiming for Rob Zombie type growly growl. I do enjoy the contrast between the growly bit and the sung bit, but I much prefer the airy vocal to the growly one.
Great attitude for the finish, pretty effing full on indeed.
Lyrically lots of good imagery and contrast, snow drifts and sky hanging low; particularly the longer drawn out airy winter compared against the manic summer soaring delivery.
Overall Icome away loving the slide guitar in this, really kept me engaged.
▷ - 48
Another excellent musical contrast between the manic 6 and the lower energy 8. Reminiscent of brain brain with the peppy synth leads underneath the talking bits. It's a good conceit and I think it meets the challenge in a cool and refreshing way. I listened in my car and some of the vocals got buried in the busier musical bits, and I couldn't tell what the lyrics were anymore, starting at is there anything at all that's troubling you" line. Worse for 6 than for 8. Not sure if it's an issue in headphones or speakers, but something worth taking a look at if you come back to this. Music to my ears bit with backing vocals was nice.
Upon reading the lyrics now, it's a fun back-and-forth discussion between 6 and 8. I am a bit confused by the 48 in the outro (6x8 I get, but they are referred to as 6 and 8 in the 3rd line); also it seemed that 6 managed to cheer up 8 based on the verse after Drop 2, so it just seems "that still a chance tomorrow is gonna be better" implies the day wasn't good, but they are hoping tomorrow will be better. Threw me off a little. All in all minor things though. I enjoyed the conversational vibe, and the song overall, with a fun playful tone.
Joy Sitler - Throwing A Party
I know we talked briefly in the peer feedback channel, but I like the tweak to the end of the first chorus, as well as the updates to levels and reverb. What a great song. Gets in, says what it has to say, and gets out. Crash maybe still a little bit harsh if I had anything critical to say at all, but it's not there for very long. Love the added horn. Sound polished and great. I also really liked the lyrics, and the contrast from throwing a party to starting a riot. Also I enjoyed the looooooong and short of it; I think that it works well in a hooky chorus. Short and good so bears repeated listens.
This Big Old Endless Sky - The One About The Housing Affordability Crisis
great lyric about being between the quarter acre and the scream; off-kilter rocker here. Without the liner notes, I defintely wouldn't have caught or appreciated the lyrics as much. I enjoy overdriven bass and vocals; perhaps a little peaky to my ears on some of the screamiest bits on the vocal; for constructives at least perhaps consider a bit less in those loudest bits (but perhaps that was the point, with the rage and all? If so, carry on then). Excellent contender for longest note on FIIIIIIIINE. Gets in, says what it has to say, gets out. Nice groove to this, and the last stanza really drives it home, for the sake of a clothes line, our debt is a gold mine. Frenetic drums with bass jumping in the middle really work in this track for me.
David Taro - Longevity
Telegraph is an interesting texture to open this with the morse code. This was one of my favorites on first listen, we'll see how it holds up (on repeats, it holds up), but I really love the chorus, organ, and instrumentation in this. Hard not to sign along on the "looOoooOoooOooon-gevity". Great groove, great vibe, a parable of the dangers of immortality and the great malaise that follows. Organ tone works great, build up superb on "there's no glory in" before the hit of loooooooooooonnnng. Well done. Guitars sit well, percussion is nice, not many things for me to say, the lyrics flow well. Subtle tambourine in the solo is a nice touch. Only constructive I can think of would be maybe the organ can come up a touch? It may also be just fine where it is. Great work.
The Dutch Widows - Hie The Night
You sound a bit unconfident in the vocal delivery in first verse, but you sound much more sure of yourself in the chorus (and a catchy chorus it is, headlines indeed) and later verses. Bassline is nice, walking around the rest of the song. Kick drum is a little too "clicky" for my tastes, at least to my ear could use a bit more of the low-end thump (I know, I'm sorry to make any kick drum comments ever again). Great guitar tones as always. Lyrically sounds like a send-up of a politcal hack, unclear if it's the one making things terrible over here or a different one, fueled by the desire to be in the limelight. Prechorus really nice on the hie the night, hail the lies, building into that chorus. Very tongue-in-cheek on the bridge, and we are all grateful for those holidays and sick pay.
Stacking Theory - The Mistake
Lyrics capture the beautiful betrayal of the trusted one; what a mistake I had made to believe in you is a great line. Music melancholic wash really supports the down mood of this, with the synths and strings. Watched the fury rage through the glass has extra bonus meaning with the liner notes on glass door. THe tallest person/deepest ocean is a bit melodramatic, but I think it works with the viewpoint of a younger worker flooded with the emotions. Tremolo/vibrato on the vocal in the falls line works well. Lots of interesting little bits and changes to keep a listener engaged. I'll probably echo the constructive of "perhaps a bit indulgent" on the outro, but it was cool to listen to. For the obvious constructive, you could probably have closed this out around the 4:10 mark, bringing the volume up to swell then down and out quiet, though it is lovely. This song, at least, was definitely not a mistake.
Vehicles of Beware - Getting to the gig
Lovely simple arrangement to this, and excellent contrast of fast ascending then descending melody; long and slow delivery is well done here, like in a round; very hard to get that to sound nice. Trem/vibrato on the guitar really works to fill out the space with the vocal. Lugging all my gear in through the kitchen, or through the people eating dinner, I hear you on that. It feels like I spend more time setting up and breaking down than playing the darn show, even the 3 hour gigs. This is truly a lovely song. I like when the shaker comes in. Not sure I'd change a thing. Lyrically mostly in for the assonance and cadence than the meaning, listing all the things to worry about for a show. In terms of constructives, I'm not sure what I'd say; maybe I'd like a bit more harmonies, but honestly this is pretty great as it is, well done.
Hot Pink Halo - Mark, Run
Lovely piano playing in this with sustained notes. The lyrics are a bit inscrutable to me as I do not have Apple plus and have not seen this Severance show, but I enjoy the vocal melodies and harmonies here, subtle use of flute(?) and synth are nice touches to keep things interesting as the song goes along. For constructives, the flute(?) sounds a little harsh/airy (perhaps on purpose?) but it was a little grating on my right ear after a few times, and that around 2:30 I found myself hoping for a shift in rhythm, pattern, bridge, something, but the whole song feels like it stays in a very narrow note/melodic/rhythmic range (perhaps on purpose, given the boxed in lyrics?), and I think I would have liked some sort of shift there, but that is just my preference. This is a lovely song. Well done.
The Moon Bureau - Fall Pyre
Toe-tapping, fast-lyricating, department of Selene. Great line on the fengiest of shuis. A lot of lyrics for such a short tune, some neat imagery of turning up, thinking things will go well, then it all going up in flames. Presumably about a failed relationship or a failed attempt to score weed? I'm not really sure. I thought the music was a bop, and I enjoyed the imagery of living within the shape created when you took yourself away. For constructives, I'll say the lyrics are a bit inscrutable to me, but that is probably just fine. I toe-tapped to this a few times.
Jim Tyrrell - Shadows
Lovely finger picking here to open, and some great turns of phrase, come in dressed for battle/leave without a fight; some people casting shadows, and most just throwing shade. For constructives, wanting to start over and "leave this town" are pretty overused at this point, I think I would have liked a more specific example of that here, but I understand you've had time pressure, gear pressure, and not enough of what you need to do what you want, so I'm just impressed you're still cranking out songs with what you've got. I think the vocal with the sweet picking on the guitar works very well for this song.
Celestial Drift - Southbound I-75
I enjoyed the music; feels like a list song. Definitely would enjoy it more if I knew more of I-75, but that's on me. Got a bit of a Johnny Cash fulsome prison/ring of fire vibes, or maybe Devil Went down to Georgia (Did he take I-75 to get there?). Rapid fire vocal delivery works, as well as the music following the lyrics on the stops in traffic, rest for a minute, that was a nice touch. Pedal steel works nice for the accents and solo. I enjoyed the rhyme of stopped and goed with road. Really well done, right in genre, nice bass, fun down slide to close it out. For constructives, not sure if it would matter, as I don't think it works with the genre, but I would have liked a change up somewhere in there; most of the song feels like the same pace of delivery of the lyrics and playing and vocal delivery, but again, just a thought, I think the song works just fine as is. I'll definitely think of it the next time I hit I-75.
Siebass - It's been a long time
More pop-rock from your friendly neighborhood Siebass. I thought I did pretty well on this one, but we'll see on Sunday.
Jealous Brother - I Think You Know
Musically I really enjoy the descending riffs, pull me into the song right away. Very hooky chorus. Nice guitar tones and vocal double/harmony works well. Solo/bridge section is nice too.
Lyrically I'm a bit adrift; asphalt candy sounds terrible, with burnt lips and a smoking smile, powerful imagery. A ride too long to be worth it, catching the wrong wave. For my constructives, it's all just a bit inscrutable to me; could just be my taste, but I'd like a little more to hang on to for the lyrics. I enjoyed bringing in the hooky descending melody into the outro as well, it was a nice touch.
Governing Dynamics - Fire In The Distance
I know I gave you some feedback in the peer review channel, but all holds true still (except that point I had about the delivery of two lines, which you have since fixed, I think it works now) Great music, tones, organ, birdsong. Had no idea this was about AI until I read the notes. Love the lyric in the chorus about the fire in the distance, can't deny the heat but hard to feel the warmth; great lines black tongue, green eyes, glass backbone, clever yet toothless, left all alone was probably my favorite part of this. Great stanza. Playing pay-to-lose was another. For the sake of constructives; might be a bit pitchy on the end of a few vocal phrases, mostly at the end of lines, but could just be my ears. Another really great song, Travis, I enjoyed this a lot.
Pigfarmer Jr - Human Again
Wouldn't have even caught the Beethoven reference if it weren't in the liner notes, and I think most of his stuff is public domain by now anyways, so good on ya. I can hear it now if I focus, but only then. Really nice grungy guitar tones. Adding the xylophone/glock was a nice accent touch for the latter choruses. I really liked the repetition of the she won't tell me against the she makes me feel human again. I really like the idea of a person that doesn't try to belittle the bad times, but still offers support. You've had some great ideas this contest, I also liked your idea of a hangman never being whole unless things are wrong from last round. For constructives, I'd say the beethoven beat through the verses is great, and probably would have liked some rhythmic variation in the choruses as well; they feel like straight 4/4 quarter notes. I think just some simple variation in there would likely have gone a long way, but those are just my thoughts, I think it's solid either way, just something to consider if you come back to this one.
Ominous Ride - Hallucination
Ah the self aware song-writing song, but on DRUGS (Drugs 're bad, mkay). I really like the dirty guitars and layered vocal to open this, stabs of the music in-between the verse lyrics work well to punctate and contrast during the verse. The "uhhs" sound really great before the hallucination as well. I liked the lyric the phial that the devil filled. Definitely have felt that pull before of "can I be my ON self without "X" stimulant/depressant?" Very on the nose for the tortured artist, and I enjoyed the lyric. Imagery for Hendrix growing the notes was nice too.
For constructives, all I'd say is the verse vocal feels a little thin/quiet compared to the guitars, it works fine because the singing is in the gaps, but maybe this is a side effect of the ipad mic. Not noticeable once you get the double on there for the third verse, so maybe that would work for verse1 and 2 as well, and maybe add a triple if you want to thicken up that last verse as well.
On the mix, maybe a little muddy? At least worth a check if you plan to come back to this.
Flintsteel - Stay Alive
The rapid-fire picking is insanely good, and your technical chops on programming/playing the drums, singing incredibly well and in genre always really impress me. Prechorus reminds me of 90's Offspring harmony vocals, in a good way. I defintely have genre bias against metal and prog rock, so take anything I say from here on out with a grain (or pound) of salt. When I get to your chorus sections, I feel like you MAY tend to reuse your vocal melodies from song to song, and that could be part of why my brain checks out a bit in the middle. It sounds exactly like how I'm expecting it to sound (polished, really good, just the right vocal take/tone/timbre), but there is (IMHO, I'm just some dude on the internet) not much element of surprise to it. And I don't mean surprise like, "We thought it was his son, but it was really a space alien! *gasp* [organ swell]", I mean like in the pattern of the notes in chorus, in the progression, in the arrangement, that kind of thing. Formulae and rubrics are great to have a form to the song, but if it's too rigid and too samey, it can become boring, even if it's techincally incredible. The chorus in this particular song reminds me a lot of your chorus in another one of your songs. Da da da, da da da da daaaa. Around the 50 second mark. I'm going to try to find the example I'm thinking of. It was "tell me why" at about the 2 minute mark. The vocal shape and pattern feel very similar to me. "Tell me why, why am I to blame/it's destiny I've been failed by fate" could be overlaid over the chorus of this song without much change. The intro/verse fast picking section is great, but when we get into the prechorus/chorus it feels a lot more "safe" to me, if that makes any sense.
Anyways, this doesn't mean you need to actually DO anything different, but I hope thinking about it at least is helpful for you (or you can just tell me to go pound sand, I've got a special sand mallet ready just for that). Lyrically everything works for the song and its target grandiosity, and I am always impressed by your technical chops. To my personal taste, I think some variation in arrangement or some curveballs in progression/vocal melodies would really elevate this song in particular, but again, could just be a "me" thing.
Dream Bells - Caerus
I had to Google Caerus, so you succeeded in making me learn something. I feel like all the Dream Bells songs I hear are a vibe, and this one is no different. Captured the "cold" vibe with the instrumentation and eq. I did need the lyric sheet to understand, but with it I can make out everything, and I'm not a judge this time so you're free of any impact of if I can understand the lyrics or not, and I'm also free to just relax and vibe to this lovely piece. Poetic lyrics, snow imagery, light touch all around, particularly liked the line illusions of forever break, and longing for shorter days.
In terms of constructives, I'm torn, so I'll just suggest something, though I don't know if it would make things better or worse. The song doesn't really have much low end to it other than really really subtle synths kind of buried. I THINK I would have liked for some tasteful buzzy bass to work in or some more present percussion to peek out from the frozen ground in the second half of the song, but artistically it works to keep things light and up in the midrange for the snowy imagery, so I'm just leaving it here for you to CONSIDER.
Möbius Strip Club - The Galaxy of You
This is a beautiful, beautiful song. I have trouble getting all the way through it as my genre bias is strong on this. I'm certain it's a me thing and not a "this song" thing, so I will say some nice things now. Vocal is lovely, great light backing instrument support. Lyrically some really solid turns of phrase, space and orbital metaphors really work throughout. Assonance on freckles bespeckle is delightful, feeling of falling into you works nicely as well with the space/planets crashing metaphors as a big planet-scale collision. The line "music of the spheres" puts me off and I'm trying to figure out why; I think it's because all of the rest of the lyrics are really approachable, constellations, freckles,star trails, nebulae, galaxies, exploration are all somewhat emotional breathtaking and wonderous imagery, and music of the spheres makes me put on my philosopher hat and takes me out of the wonder a bit into a bit of pretension where I didn't feel that prior. Probably also just a "me" thing, but I try to provide constructive feedback. It certainly works in the context of ringing loud and clear and dancing curves getting ever closer, and as a philosophical concept, just took me from the concrete to the abstract and out of the song a bit. YMMV. Only other contructive would be perhaps to check the pitching on some of those long vibrato notes. I don't have the best ear, so again could be me, but a few of them sound like they might be drifting off center (but perhaps that was the point, like planets drifting off of orbit?). Anyhow, beautiful love song ode to one's precious spacial (SWIDT) someone.
Sober - Look Away
This track may have the longest held note, on graaaaaaaaave. Another of my favorites of the round; one of my best friends from high school had a mental breakdown somewhere in our mid to late 20's, basically went off the grid, secretly lived in a storage unit for a while, homeless for a while tried to hike from NC back up to his parents in DC, and now is mercifully back in his parent's basement, but I feel these lyrics and story in a big way. It's hard to watch someone you know and care about self-destructing, and you can't help if they don't want it. Great topic and execution. Musically the banjo works with the rockier setup, 7/4 integrated seamlessly into the 4/4 parts. In terms of constructives, maybe a bit more volume on the plucked banjo bits, and I woulda loved it if you let 'er rip on the guitar even of only at one point in the song for a solo or some heavier bits, but great work all around.
Piss Enema - Bedazzling Necrotic Flesh [SHADOW]
Mother of God it's all toilet sounds indeed. Ominous dinging; my kids love the Trolls movies, and I just think "Growly growly growly growly".
Sounds like death metal cookie monster
I'd guess Phlub. If it's the opposite of a Celestial drift, maybe a Satanic connecting flight?
That song was an aural assault.
Joy Sitler - Breathe Her In [SHADOW]
Could have been the main, great light take, some cutting lyrics and a soft touch on an intimate moment and vibe; really well done, I enjoyed this a lot with the light falsetto sprinkled thoughout and honesty. It's hard to be yourself when the yourself you're being is "too much" for other folks, really great idea and execution. Nice visual for the tear in your rearview as well.